the _Exposition_, or first Division, of the Sonata-allegro forms.
It indicates a point of contact between the latter and the rondo,--in
the _Third_ form of which we also find an Exposition. Careful
comparison of the two types of exposition reveals the significant
difference between the two classes, however; in the Third Rondo, the
exposition was an _alternation_ of themes, with decided preference for
the principal one; in the Sonata-allegro it is a _union_ of themes,
without preference, resulting in a broader thematic basis.

THE SONATINE FORM.--In the Sonatine-form, or the smaller variety of the
sonata-allegro designs, this Exposition (or first Division) is followed
_at once_,--or after a few measures of interlude, or re-transitional
material,--by a Recapitulation of the Division, as was seen in the
Third Rondo-form, and under the same conditions of transposition as
there. The diagram of the form is therefore as follows:--

Exposition. Recapitulation.
----------------------------- ------------------------------
PR. TH. SUB. TH. CODETTA. Very PR. TH. SUB. TH. CODETTA.
----------------------------- brief ------------------------------
As usual. In some Optional. Inter- As In the Also in
related lude before. principal principal
key. key. key.

An additional coda is, as usual, likely to appear at the end.

This diagram should be very carefully compared with that of the Third
Rondo-form on page 119, and the points both of agreement and
dissimilarity noted. More minute details of the Sonatine form will be
given in the next chapter, in connection with the larger and more fully
developed Sonata-allegro form.

An illustration of the Sonatine-form will be found in Mozart, 6th
pianoforte sonata, _adagio_. Number the measures, as usual, and
analyze with reference to the indications given; the figures in
parenthesis again denote the measures.

_Principal Theme_, B-flat major, period-form,--possibly double-period,
because of the slow tempo and large measures (1-8). There is no
Transition.

_Subordinate Theme_, F major, period-form, extended. Antecedent
(9-12); consequent, very similar (13-16); extension by addition of new
phrase, as in the group-form (16 1/2-19).

_Codetta_, also in F major, very brief, only one-half measure, and
repeated as usual (19 1